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The Hall of Fame isn't calling, but 'Bad Moon' Rison left a different kind of legacy

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The Hall of Fame isn't calling, but 'Bad Moon' Rison left a different kind of legacy

Every year the call didn’t come, the tears would.

So would the disbelief. The anger. The nights of lost sleep.

For Andre Rison it was like a knife in the side, his annual rejection from the Pro Football Hall of Fame. Hadn’t he done enough? Wasn’t he one of the best of his era? He came to dwell on the disrespect, convinced he belonged, convinced there had to be some reason why he wasn’t getting in.

“There’s nothing Jerry Rice could do that I couldn’t,” Rison has said more than once over the years.

Deep down, he believes that.

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But Rice has the records, the gold jacket resting on his shoulders, the GOAT chain dangling from his neck. Rison has the notoriety that lingers after a chaotic career, then fades. Maybe this was payback, he figured. Maybe it was punishment. He played loud. He lived loud. Andre “Bad Moon” Rison was the NFL’s most outspoken receiver before the NFL was awash in outspoken receivers.

That’s gotta be it, he kept telling himself as the years passed and the call from Canton never came. It wasn’t football — it couldn’t just be football. It was everything else.

It had to be.

Still, the man wasn’t about to apologize. Not for the climb and not for the fall. Not for lashing out at coaches, quarterbacks, even an entire city. Not for brawling with Deion Sanders at the 20-yard line of the Georgia Dome. Not for the touchdown dances that earned him racist letters from fans. Not for dating the pop star who burned down his mansion. Not for partying with Tupac.

Not for any of the baggage that trailed him for most of his seven-city, 11-year NFL odyssey.

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This man was never going to fit neatly into a box.

“When I played,” Rison says now, “the thinking was, if you was African-American, then you could only be great at one thing: football. That was it.

“I said, leave that lane for somebody else.”

His ambitions ran deeper. He was one of the first pro athletes to fuse sports and hip-hop — “I changed the culture,” Rison boasts. He started record labels. He opened businesses. He carried his community with him.

The ride was rocky, littered with mistakes. The arrests. The drama. The millions he burned through — Rison once bought a Ferrari Testarossa without knowing the sticker price and admits to owning 34 different Mercedes-Benzes over the years. A night out in his younger days set him back $15,000.

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He courted the spotlight even when it was the last thing he needed. When a reporter once asked if he was the Dennis Rodman of the NFL, Rison nodded, taking it as a compliment.

In some ways, he was ahead of his time. Before Keyshawn Johnson was screaming “Give me the damn ball!” and Terrell Owens was doing crunches in his driveway for the TV cameras and Chad Johnson was slipping on a homemade Hall of Fame jacket on the sideline, Rison was blowing up the tired old narrative that said receivers need only run their routes, catch the ball and keep quiet.

Three decades later, the 57-year-old is asked if the tumult that often trailed him ever got in the way of football. Rison scoffs. He’s offended. This is a man who once bought a T-shirt that read, “When God made me, he was just showing off.”

“You remember when Michael Jordan went gambling the night before a playoff game and everyone killed him for it, and the next night he lit their ass up?” Rison asks. “Ain’t no distractions when you different. Mike’s different. I’m different. I been different.

“This is Bad Moon we’re talking about.”

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Andre Rison finished second in Rookie of the Year voting with the Colts. Soon, he was gone. (Getty, Allsport)

It was ESPN’s Chris Berman who tapped him with the nickname, inspired by the Creedence Clearwater Revival hit. In 1989, at the tail end of Rison’s rookie year with the Colts, he was pulled over for driving 128 miles per hour in a 55-mph zone. He told the cops he was only going 95.

I see the bad moon a-rising

I see trouble on the way

“The nickname changed my life forever,” Rison wrote in his book, “Wide Open.” For better or worse, he came to embrace it, getting “Bad Moon Rison” tattooed on his bicep.

The song was right: trouble followed. But so did a scintillating career.

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Rison played with a fire first lit on the hardscrabble streets of Flint, Mich., where, as a high school star, a local mobster — Rison calls him Mafia Sal — would slip him wads of cash from time to time, urging him to pick a particular college and sign with a particular agent. Rison says he ignored him. He was going to make it his way.

He did. At Michigan State, he played basketball, made All-Big Ten in track and field and was an All-American wide receiver. “Could’ve made $3 million a year in NIL deals today,” Rison says. A first-round pick of the Colts in 1989, he finished second in Offensive Rookie of the Year voting to Barry Sanders. The Colts missed the playoffs by a game. The future felt bright, and Rison was one of the biggest reasons why.

He was gone a few months later, shipped to Atlanta in a trade that gave the Colts the chance to draft quarterback Jeff George first overall. Rison was crushed. His teammates were, too.

“Heartbroken,” says former Colts linebacker Jeff Herrod. “He had some Marvin Harrison in him. Without Rison, our team went in the craps.”

In Atlanta, Rison grew into one of the best wideouts in the game, earning four straight trips to the Pro Bowl. At 6-feet, 188 pounds, he was undersized but unafraid, lethal between the numbers, quick as a cat. “Nobody could separate like he could,” says his coach with the Falcons, Jerry Glanville. “He had the best change-of-direction I’ve ever seen.”

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There wasn’t a cornerback in football who scared him, and after every catch, Rison welcomed the contact that came his way. He was once walloped so hard in a game that Glanville wondered for a solid minute if he’d ever get up. “I thought he could be dead,” the coach remembers. But Rison always came back for more.

“I’d like to think I was one of the greatest to go over the middle,” he says. “If not the greatest.”

There was a swagger to his game, a style that fit the Falcons and a city coming into its own. Atlanta was becoming a hotbed of hip-hop, and Rison — along with Deion Sanders, his teammate and the league’s best defensive back — were two of the biggest catalysts. The pair became the faces of the hungry upstart.

And they did it different.

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“We football players were told we couldn’t get no endorsements, those were for the basketball and baseball players,” Rison says. “They said we couldn’t get commercials, we couldn’t get involved with music. Deion and I didn’t listen.”

They signed with Nike. They starred in commercials. They popped up in MC Hammer’s music videos. They spoke their minds to the media, consequences be damned.

And they backed it up on Sundays.

go-deeper

GO DEEPER

Is the Deion Sanders way working at Colorado? It depends which way you look at it

By 1993, Rison had more catches in his first five seasons than any receiver in history. Glanville’s rule was simple: Whenever the Falcons advanced inside the red zone, get the ball to No. 80. Period. “I’d tell my QBs, ‘I don’t care if he busts a route and you don’t know where the hell he’s going, just find Rison,’” the coach says. “He’d run over the entire defense to get in the end zone.”

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The numbers piled up. The wins didn’t. Sanders bolted for San Francisco before the 1994 season and put on a show a few months later in his return to the Georgia Dome, throwing punches at Rison — punches Rison returned — before taking an interception back 93 yards and high-stepping into the end zone.

Rison was gone a year later, signing a five-year $17 million deal with the Browns, at the time the richest ever for a wide receiver. But he never lived up to it. He showed up to training camp out of shape, grew frustrated with the scheme and clashed with coach Bill Belichick.

Late that year, while rumors of the Browns’ move to Baltimore swirled, Rison lashed out at the fans after a loss to Green Bay in which he was repeatedly booed. “Baltimore here we come,” were his infamous words in front of the TV cameras. Rison says in the weeks that followed, he received death threats. Most in Cleveland never forgave him.

Rison flamed out in Jacksonville after failing to mesh with quarterback Mark Brunell, whom Rison took shots at in the media after his exit. A few months later, he was helping the Packers win Super Bowl XXXI, snagging a 54-yard touchdown from Brett Favre on the team’s second offensive snap. It was so loud in the New Orleans Superdome that night that Rison couldn’t even hear Favre’s audible at the line of scrimmage. No matter. He snuck behind the defense and went untouched for the score.

He was a world champion.

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Andre Rison takes a reception in for a score during the Packers’ Super Bowl XXXI victory at the Superdome. (Brian Bahr, Peter Brouillet / Getty Images)

In the days leading up to the game, he ran into Belichick before practice. “Hey pipsqueak,” the coach blurted out, “why didn’t you play like this for me?” Rison’s response: “Because you didn’t have an offensive coordinator.” Both laughed.

In Kansas City, Rison earned a fifth Pro Bowl nod and a new nickname, “Spiderman,” for his acrobatic catches in the end zone. But his time in the league was winding down, and after spending the 2000 season with the Raiders, Rison was out. One last triumph came in 2004 when he helped the Toronto Argonauts to a CFL Grey Cup.

Football was finished. Nothing in Rison’s life was about to get any easier.


After his girlfriend burned down his house, Rison hopped on his motorcycle, sped out of his subdivision and considered killing himself.

“I can’t take it!” he screamed.

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The rain poured.

“All I had to do was wiggle the bike, just one good time, and I was headed straight into the median,” he wrote in “Wide Open.” “It would all be over in an instant.”

The relationship was volatile, the drama unending. Lisa “Left Eye” Lopes — one-third of the Grammy-winning group TLC — had returned to Rison’s Atlanta home one night in June 1994 and found him with another woman. She collected dozens of pairs of his shoes, piled them up in the bathtub, then lit them on fire.

His $2 million mansion was torched. The incident made national news. Lopes was charged with first-degree arson.

The scene Rison has never been able to push from his mind: seeing Lopes climb into a car and drive off with Tupac Shakur, a close friend of his at the time — Shakur actually filmed his music video with MC Breed, “Gotta get mine,” at one of Rison’s homes.

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A week later, Rison was holding Lopes’ hand during her court hearing. They planned to marry until she was killed in a car accident in Honduras in 2002.

By then Rison’s NFL career was over. He stumbled trying to find what was next. His estimated $19 million in career earnings? Mostly gone. “Some guys had a gambling problem,” Rison said in the ESPN 30 for 30 documentary, “Broke.” “Well, I had a spending problem.” Over the years, in addition to the 34 Benzes, he bought 14 BMWs, several Ferraris and too many trucks to count. He claims to have spent over $1 million on jewelry. He once lent a friend $30,000 to open a frozen drink café, then never saw a penny of profit.

The partying caught up to him. Rison’s inner circle ballooned to 20, 30, even 40 people. He paid for everything. He remembers lying in bed after a night out with $10,000 in cash sprawled out on the floor, $5,000 tucked in his pocket and $7,500 more stashed in his coat. He spread himself too thin. Eventually, the money ran out.

“Everybody used to say, and still does, that all Dre ever did away from the game was give, give, give,” Rison says. He says he picked it up from his grandmother back in Flint, who’d welcome strangers into her house on Christmas just so she could cook them a warm meal.

A coach left him with a warning early in his career, words Rison never forgot: “You keep messing up, and one day I’m gonna pull up in my shiny white Cadillac and ask, ‘Hey Dre, how about a wash?’”

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Rison pledged he wouldn’t let that happen.

It never did. But his finances were a mess. His legal issues piled up — over the years, he’s been arrested for felony theft and disorderly conduct, and in 2022 he was charged with failing to pay child support. (Rison has four sons.) He avoided jail time by pleading down. Finally, he filed for bankruptcy.

He started coaching. He opened a business training young athletes. Then he met the woman who would offer him the type of stability he’d always needed. He helped her beat breast cancer, and together, they’re raising four daughters in his home state of Michigan.

Her name? Lisa Lopez.


He feels the remnants of all those trips over the middle every morning when he wakes up.

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Rison says he has Arthritis in 18 different places. He has bone spurs in his neck. He’s had his jaw dislocated, his teeth knocked out, all 10 of his fingers broken at one point or another.

“You have to learn how to deal with depression,” Rison says, “and how to fight it.”

And he had to learn to move on, to stop obsessing over the Hall of Fame. He’s been a finalist several times, and for years, the rejection ate at him. He’d watch cornerbacks he used to embarrass make it in, and he’d steam. He’d tell a reporter he was “the best receiver to ever play the game” and vow to start his own Hall of Fame, Canton be damned. He’d belittle Rice’s gaudy numbers, claiming they were merely a product of him playing with Joe Montana and Steve Young.

What would he have done, Rison asked, if he’d played with one of those QBs instead of Chris Miller and Bobby Hebert?

Rison’s old teammate, Herrod, has wondered the same thing. “Put Andre Rison on the Cowboys or 49ers back in the day and it would’ve been a whole different story,” he says.

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Rison believes that to his core. When he grabbed a photo with Randy Moss a few years back, this was the caption he wrote: “THE TWO GREATEST OF ALL TIME IN MY EYES.” When he was inducted into Michigan State’s Hall of Fame in 2022, Rison began his speech with this: “I never dreamed of being in the MSU Hall of Fame, but I always dreamed of being in the damn NFL Hall of Fame.”

It’s tormented him for years. It probably always will.

The numbers aren’t there, not after the offensive eruption of the 2000s, when 1,200-yard receiving seasons became routine. Rison currently sits 22nd all-time in touchdowns (84), tied for 48th in career catches (743) and 52nd in yards (10,205).

His chance at Canton came and went. He says he’s let it go. He says the bitterness is gone. He says he’s done losing sleep over it. He knows what he did on the field.

And if the way he did it — the hip-hop connections and the partying, the rapper girlfriend and the off-the-field headlines — cost him in the voters’ eyes, fine. Rison paved a path, he says, that athletes have been following ever since. That’s a different kind of legacy.

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“I opened doors,” Rison says. “Everybody wasn’t willing to indulge in entertainment and hip-hop back then. When my teammates were on the golf course, I was meeting with Sony Records.”

These days, he pours himself into his passions. He wrote “Wide Open” and produced a movie about his life by the same name. He was recently promoted to interim head coach at University Liggett, a high school outside of Detroit. He shuttles his daughters to school and practices. He popped up on “Celebrity Family Feud” and announced the Falcons’ second-round pick at the draft in April.

“I’m living an even better life off the field than when I played,” Rison says. “I’d always prefer the way it went. And I damn sure wouldn’t change anything about where I’m at right now.”

Rison claims — along with Sanders, his close friend and the coach at Colorado — that both “are just as relevant as we were when we played.” Sanders, perhaps the most controversial figure in college football, might even be more relevant. Bad Moon Rison sees himself in the same vein, even if he’s the only one who still does.

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(Illustration: Dan Goldfarb / The Athletic. Photos: Al Bello / Allsport, Otto Greule / Allsport, Robert Seale / Sporting News/Icon SMI)

Culture

Test Yourself on the Settings Mentioned in These Novels About Road Trips

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Test Yourself on the Settings Mentioned in These Novels About Road Trips

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights the starting points or destinations of five novels about road trips. (Even if you aren’t familiar with the book, most questions offer an additional hint about the location.) To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.

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This Poem About Monet’s “Water Lilies” Reflects on the Powers and Limits of Art

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This Poem About Monet’s “Water Lilies” Reflects on the Powers and Limits of Art

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In the midst of the world’s unrelenting horribleness, it’s important to make room for beauty. True! But also something of a truism, an idea that comes to hand a little too easily to be trusted. The proclamation that art matters — that, in difficult times, it helps — can sound like a shopworn self-care mantra.

So instead of musing on generalities, maybe we should focus our attention on a particular aesthetic experience. Instead of declaring the importance of art, we could look at a painting. Or we could read a poem.

A poem, as it happens, about looking at a painting.

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Hayden did not take the act of seeing for granted. His eyesight was so poor that he described himself as “purblind”; as a child he was teased for his thick-framed glasses. Monet’s Giverny paintings, whose blurriness is sometimes ascribed to the painter’s cataracts, may have revealed to the poet not so much a new way of looking as one that he already knew.

Read in isolation, this short poem might seem to celebrate — and to exemplify — an art divorced from politics. Monet’s depiction of his garden, like the garden itself, offers a refuge from the world.

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Claude Monet in his garden in 1915.

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“Ceux de Chez Nous,” by Sacha Guitry, via Museum of Fine Arts, Boston

But “Selma” and “Saigon” don’t just represent headlines to be pushed aside on the way to the museum. They point toward the turmoil that preoccupied the poetry of Hayden and many of his contemporaries.

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“Monet’s ‘Waterlilies’” was published in a 1970 collection called “Words in the Mourning Time.” The title poem is an anguished response to the assassinations of Robert F. Kennedy and the Rev. Dr. Martin Luther King Jr., and to the deepening quagmire in Vietnam. Another poem in the volume is a long elegy for Malcolm X. Throughout his career (he died in 1980, at 66), Hayden returned frequently to the struggles and tragedies of Black Americans, including his own family.

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Robert Hayden in 1971.

Jack Stubbs/The Ann Arbor News, via MLive

Born in Detroit in 1913, Hayden, the first Black American to hold the office now known as poet laureate of the United States, was part of a generation of poets — Gwendolyn Brooks, Dudley Randall, Margaret Danner and others — who came of age between the Harlem Renaissance of the 1920s and the Black Arts movement of the ’60s.

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A poet of modernist sensibilities and moderate temperament, he didn’t adopt the revolutionary rhetoric of the times, and was criticized by some of his more radical peers for the quietness of his voice and the formality of his diction.

But his contemplative style makes room for passion.

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Frankenstein’s Many Adaptations Over the Years

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Frankenstein’s Many Adaptations Over the Years

Ever since the mad scientist Frankenstein cried, “It’s alive!” in the 1931 classic film directed by James Whale, pop culture has never been the same.

Few works of fiction have inspired more adaptations, re-imaginings, parodies and riffs than Mary Shelley’s tragic 1818 Gothic novel, “Frankenstein; or, the Modern Prometheus,” the tale of Victor Frankenstein, who, in his crazed quest to create life, builds a grotesque creature that he rejects immediately.

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The story was first borrowed for the screen in 1910 — in a single-reel silent — and has directly or indirectly spawned hundreds of movies and TV shows in many genres. Each one, including Guillermo del Toro’s new “Frankenstein,” streaming on Netflix, comes with the same unspoken agreement: that we collectively share a core understanding of the legend.

Here’s a look at the many ways the central themes that Shelley explored, as she provocatively plumbed the human condition, have been examined and repurposed time and again onscreen.

“I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.”— Victor Frankenstein, Chapter 3

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The Mad-Scientist Creator

Shelley was profuse in her descriptions of the scientist’s relentless mind-set as he pursued his creation, his fixation on generating life blinding him to all the ramifications.

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Sound familiar? Perhaps no single line in cinema has distilled this point better than in the 1993 blockbuster “Jurassic Park,” when Dr. Ian Malcolm tells John Hammond, the eccentric C.E.O. with a God complex, “Your scientists were so preoccupied with whether or not they could that they didn’t stop to think if they should.”

Among the beloved interpretations that offer a maniacal, morally muddled scientist is “The Curse of Frankenstein” (1957), the first in the Hammer series.

“Mary Shelley’s Frankenstein” (1994), directed by Kenneth Branagh, is generally considered the most straightforward adaptation of the book.

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More inventive variations include the flamboyant Dr. Frank-N-Furter, who creates a “perfect man” in the 1975 camp favorite “The Rocky Horror Picture Show.”

In Alex Garland’s 2015 thriller, “Ex Machina,” a reclusive, self-obsessed C.E.O. builds a bevy of female-like humanoids.

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And in the 1985 horror comedy “Re-Animator,” a medical student develops a substance that revives dead tissue.

Then there are the 1971 Italian gothic “Lady Frankenstein” and the 2023 thriller “Birth/Rebirth,” in which the madman is in fact a madwoman.

“With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet.”— Victor Frankenstein, Chapter 5

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The Moment of Reanimation

Shelley is surprisingly vague about how her scientist actually accomplishes his task, leaving remarkable room for interpretation. In a conversation with The New York Times, del Toro explained that he had embraced this ambiguity as an opportunity for imagination, saying, “I wanted to detail every anatomical step I could in how he put the creature together.”

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Filmmakers have reimagined reanimation again and again. See Mel Brooks’s affectionate 1974 spoof, “Young Frankenstein,” which stages that groundbreaking scene from Whale’s first movie in greater detail.

Other memorable Frankensteinian resurrections include the 1987 sci-fi action movie “RoboCop,” when a murdered police officer is rebooted as a computerized cyborg law enforcer.

In the 2012 Tim Burton animated “Frankenweenie,” a young scientist revives his beloved dog by harnessing lighting.

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And in the 2019 psychologically bleak thriller “Depraved,” an Army surgeon, grappling with trauma, pieces together a bundle of body parts known as Adam.

“Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust?”— The creature, Chapter 15

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The Wretched Creature

In Shelley’s telling, the creature has yellow skin, flowing black hair, white teeth and watery eyes, and speaks eloquently, but is otherwise unimaginably repulsive, allowing us to fill in the blanks. Del Toro envisions an articulate, otherworldly being with no stitches, almost like a stone sculpture.

It was Whale’s 1931 “Frankenstein” — based on a 1927 play by Peggy Webling — and his 1935 “Bride of Frankenstein” that have perhaps shaped the story’s legacy more than the novel. Only loosely tethered to the original text, these films introduced the imagery that continues to prevail: a lumbering monster with a block head and neck bolts, talking like a caveman.

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In Tim Burton’s 1990 modern fairy tale “Edward Scissorhands,” a tender humanoid remains unfinished when its creator dies, leaving it with scissor-bladed prototypes for hands.

In David Cronenberg’s 1986 body horror, “The Fly,” a scientist deteriorates slowly into a grotesque insectlike monster after his experiment goes wrong.

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In the 1973 blaxploitation “Blackenstein,” a Vietnam veteran who lost his limbs gets new ones surgically attached in a procedure that is sabotaged.

Conversely, in some films, the mad scientist’s experiment results in a thing of beauty: as in “Ex Machina” and Pedro Almodóvar’s 2011 thriller, “The Skin I Live In,” in which an obsessive plastic surgeon keeps a beautiful woman imprisoned in his home.

And in Yorgos Lanthimos’s 2023 sci-fi dramedy, “Poor Things,” a Victorian-era woman is brought back to life after her brain is swapped with that of a fetus.

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“I am an unfortunate and deserted creature; I look around, and I have no relation or friend upon earth.”— The creature, Chapter 15

The All-Consuming Isolation

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The creature in “Frankenstein” has become practically synonymous with the concept of isolation: a beast so tortured by its own existence, so ghastly it repels any chance of connection, that it’s hopelessly adrift and alone.

What’s easily forgotten in Shelley’s tale is that Victor is also destroyed by profound isolation, though his is a prison of his own making. Unlike most takes on the story, there is no Igor-like sidekick present for the monster’s creation. Victor works in seclusion and protects his horrible secret, making him complicit in the demise of everyone he loves.

The theme of the creator or the creation wallowing in isolation, physically and emotionally, is present across adaptations. In Steven Spielberg’s 2001 adventure, “A.I. Artificial Intelligence,” a family adopts, then abandons a sentient humanoid robot boy programmed to love.

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In the 2003 psychological horror “May,” a lonely woman with a lazy eye who was ostracized growing up resolves to make her own friend, literally.

And in the 1995 Japanese animated cyberpunk “Ghost in the Shell,” a first-of-its-kind cyborg with a human soul struggles with its place amid humanity.

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“Shall each man find a wife for his bosom, and each beast have his mate, and I be alone?”— The creature, Chapter 20

The Desperate Need for Companionship

In concert with themes of isolation, the creators and creations contend with the idea of companionship in most “Frankenstein”-related tales — whether romantic, familial or societal.

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In the novel, Victor’s family and his love interest, Elizabeth, are desperate for him to return from his experiments and rejoin their lives. When the creature demands a romantic partner and Victor reneges, the creature escalates a vengeful rampage.

That subplot is the basis for Whale’s “The Bride of Frankenstein,” which does offer a partner, though there is no happily ever after for either.

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Sometimes the monster finds love with a human, as in “Edward Scissorhands” or the 2024 horror romance “Lisa Frankenstein,” in which a woman falls for a reanimated 19th-century corpse.

In plenty of other adaptations, the mission is to restore a companion who once was. In the 1990 black comedy “Frankenhooker,” a science whiz uses the body parts of streetwalkers to bring back his fiancée, also Elizabeth, after she is chewed up by a lawn mower.

In John Hughes’s 1985 comedy, “Weird Science,” a couple of nerdy teenage boys watch Whale’s 1931 classic and decide to create a beautiful woman to elevate their social standing.

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While the plot can skew sexual — as with “The Rocky Horror Picture Show,” “Ex Machina” and “Frankenhooker” — it can also skew poignant. In the 1991 sci-fi action blockbuster “Terminator 2: Judgment Day,” a fatherlike bond forms between a troubled teenage boy and the cyborg sent to protect him.

Or the creature may be part of a wholesome, albeit freakish, family, most famously in the hit 1960s shows “The Addams Family,” with Lurch as the family’s block-headed butler, and “The Munsters,” with Herman Munster as a nearly identical replica of Whale’s creature.

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In Shelley’s novel, the creature devotes itself to secretly observing the blind man and his family as they bond over music and stories. While sitcom families like the Munsters and the Addamses may seem silly by comparison, it’s a life that Shelley’s creature could only have dreamed of — and in fact did.

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